Born this date: Edward Van Halen, in 1955. This is what I wrote when he died, in 2020–but I’d rather honor him on the day on which he was born.
It took me a while to start loving rock music. I heard a lot of it as a kid (benefits of having an older sister, which I did not appreciate at the time because there are things you need years to figure out, especially when you’re a not-terribly-smart nine-year-old), but for various reasons none of it really captured my attention until the early-to-mid 1980s. Part of it might have been a kind of peer-pressure, as I did tire of being the kid who had no idea what all of my friends were talking about when they started discussing music. Another part of it was the arrival of MTV, which even I, as a geeky kid, thought was pretty cool.
We didn’t have MTV at our house for a while, because it took several years before the cable company ran the lines out our road to where we lived. But I would watch a lot of MTV at a couple friends’ houses, when I did sleepovers and the like. There’s a lot of nostalgic hay to mine in the music videos of those first few years, but I’ll keep it to just one group here, for what are probably obvious reasons.
There was one very strange video I enjoyed in particular. It actually had a filmed introduction; the music didn’t start for a minute or two. Our opening scene has a spectacularly nerdy kid being put on the school bus by his mother. This dude is so nerdy that when his mother flattens his hair with her fingers, it squeaks. She’s giving him the standard spiel about making friends and having a good year and whatnot, but our boy–named “Waldo”–is not having in, replying to her in a voice that can’t possibly be his: “Awww, Mom, you know I’m not like the other guys! I’m nervous and my socks are too loose.” No dice; off to school goes Waldo, after discovering that the bus is loaded with what the 1980s held to be the standard “degenerate” types of kid.
Then our music starts, with some wild drums, and then the most blazing electric guitar work I had heard to that point in my life. And that guitar work remains the most blazing guitar work I’ve ever heard. The song, and video, were called “Hot For Teacher”, and the band was a hard rock group called “Van Halen”. That astonishing guitar playing? That was a guy named Eddie Van Halen.
That song, and the others from the album 1984 were my introduction to Van Halen. I would learn not long after that while I’d just discovered these guys, Van Halen had actually been around in a big way since the late 1970s after toiling in obscurity for several years before that, and that 1984 was their sixth studio album. Soon after that album came out, some internal drama happened with the band that led to their lead singer, a charismatic but troublesome guy named David Lee Roth, to leave the group; luckily there was another lead singer available by the name of Sammy Hagar who was between bands at the moment, so he slid right in and the band accommodated him, making new music in new styles to reflect the style of their new lead man, all the while maintaining the focus on the hard-but-fun rock.
And through all of that was the guitar work of Eddie Van Halen.
The music of Van Halen was a big part of my teen years, and I’ve never lost my love of it, though eventually I didn’t buy the albums anymore. 5150, the first Van Halen album with Hagar aboard, was the first rock album that I played almost literally to death, to the point where I knew each and every song on that album backward and forward. I’d quickly get up to speed on all of the Roth-era albums as well, each of which is full of great rock music (well, Diver Down is really kinda meh, isn’t it?), but I am probably one of the only people around who can honestly say that I don’t have a genuine preference between the DLR and Sammy eras…or, as some people phrase it, “Do you prefer Van Halen, of Van Hagar?”
In all honesty, though, if you put a gun to my head and said “Play the first Van Halen song that jumps into your head!” I will probably wind up selecting “Dreams” from 5150 or “Right Now” from For Unlawful Carnal Knowledge before I choose any DLR song. That might not be a “preference”, but there it is.
Of course, Van Halen’s history got even more convoluted later on, when I had kind-of moved on from listening to them on a regular basis. Hagar was out, Roth was back in; Roth was out, and a guy named Gary Cherrone was in (for one album, that most people speak of in the same hushed tones as the Star Wars Holiday Special). Hagar was back! Hagar was gone again! Roth was back! Roth was out! Roth was back again! And so on.
Eventually Eddie Van Halen’s years of hard living started catching up with him, with news and rumors of his various health troubles, winding up in the end with cancer…and that’s what finally took him away from the world, at the age of 65.
What to say about Eddie Van Halen’s guitar playing? Well…yes, he could play fast and he could do astonishing things with the guitar. But what always got me was the tone of his playing. There was often a sense of cheer behind it, of happiness, of warmth. A lot of great rock guitar playing often seems obsessed with speed for the sake of speed, and the electric guitar can sound almost angry and snarling in a lot of guitar solos, especially in 1980s-era “hair band” hard rock. Eddie’s tone was always clean and pure, and there was almost always melody there, even in the midst of his virtuosic displays of pure skill and talent. Eddie Van Halen made music with the guitar, and his solos always blend into the songs and seem a part of the song. Many guitar solos of the era sound like what they are: rhythmic cadenzas stuck in the middle of the song, where the singer stops singing but the bassist and drummer keep on going.
Eddie Van Halen made the guitar sing and laugh, and in a few songs he even made it seem like it was about to cry. The man wasn’t just a guitar god, he was a musician. Eddie Van Halen was to the guitar, for me, as Vladimir Horowitz was to the piano or as Hillary Hahn is to the violin or as Tine Thing Helseth is to the trumpet. In his best work, he isn’t just “shredding”, he’s making music. And that’s what I’m going to remember Eddie Van Halen for: the music.
Thanks for the music, Eddie. It was always good, and quite a lot of it was great.
A word about this last one, the live performance of “Best of Both Worlds”. My paternal grandmother died in 1986, when I was just about to turn 15. It was a deeply sad day; she was the first significant loss of my life. It was a Friday. After making the arrangements that morning, my father drove all the way home from Philadelphia, where Grammy lived, and then I remember my parents going out to hang out with their friends on what was a difficult night. I stayed home, as I typically did. Grammy’s passing didn’t really hit me until my father told me, after he got home, that she had remembered me during her brief hospital stay; apparently someone had said something that had triggered her memory of me. I lost it after that, and I remember being deeply sad for the next several hours, until I idly turned on the teevee and channel-flipped to MTV, which had the Video Music Awards (MTV’s big awards show–do they still have the VMAs anymore?), and not long after I tuned in, MTV went to a segment of none other than Van Halen, in New Haven, CT. (At the time I thought this was live, but it turns out that it was dropped-in filmed footage from a performance two months earlier, but did that matter? Not really.) They were on their big tour for the 5150 album, their first big tour with Sammy Hagar. This performance is the one to which MTV cut. Maybe it seems weird, but watching them do “Best of Both Worlds”–which is one of the best songs on that album–jolted me out of my funk. It was still a sad time, and Grammy’s death was just the start of what was a generally godawful sophomore year of high school for me, but…at least there was Van Halen. Always Van Halen. To this day, I can rely on Van Halen to cheer me up when I’m stuck in the mud.
So, yeah. Thanks again, Eddie. (And Sammy, and Dave, and Michael, and Alex. And heck, you too, Gary.)
UPDATE: I was remiss in not crediting the photo above.
History is not a feel-good story
This is a re-post that generally reflects my frustration with the American approach to teaching and thinking about its own history. It’s not specifically about Martin Luther King Jr., but I think it applies, particularly when MLK Jr. is treated by many on the right as a source of exactly one quote. For content specifically about Rev. King, see Roger’s post.
No subject is more eternally disappointing to see discussed in America than race, because a great many of us simply don’t have any inclination to engage in anything remotely resembling an honest discussion of race at all.
This is not the least bit new. All that’s changed, in recent months, is the wording. White people have been finding ways to dodge discussions of racism probably since the beginning of time, but the most prominent version in my personal experience has been simple dismissal of the subject as soon as it is brought up: some version of “There they go again, playing the Race Card,” usually accompanied by a rolling of the eyes.
What is signaled by saying “Playing the Race Card” is itself a rhetorical strategy that has several goals: it’s a granting of permission to oneself to ignore anything the other person is saying, as well as a signal to that person that their words are falling on ears that have been rendered deaf before the fact. It’s a neutering of conversation, and saying it is a metaphorical hanging of the “CLOSED” sign on the mind.
The racism-denialist side has become a bit more sophisticated of late, which you can see in the way they have cynically elevated something called “Critical Race Theory” to the status of Bogeyman Supreme in this country. For a good summation of this, I strongly recommend the summation John Oliver did on this season’s opening episode of Last Week Tonight:
Of special interest is the fact that not one of the people shrieking most loudly about “Critical Race Theory” can tell you the first factual thing about “Critical Race Theory”, and that the American right-wing has become so divorced from any factual basis for its constant drum-beating about nonexistent grievances that now their entire debate can be shaped by dishonest actors like Christopher Rufo, who will publicly and openly admit the dishonest nature of their rhetorical framing as they watch their preferred framing of the debate happen anyway. These people are deeply sophisticated in their knowledge of how American media will follow a bouncing ball to the end of the Earth, so long as the ball is set bouncing by the right wing.
I personally do not know much at all about Critical Race Theory, but I am at least aware that my willingness to admit this puts me in an unfortunate minority among white people. Weird irony, that.
What catches me so much about the rhetoric around the thing that right-wingers have crafted in their increasingly fever-minded, fact-deprived heads about “Critical Race Theory” is one objection I hear over and over and over again. You’ll hear it in the Oliver segment above, and I also saw it this past week in comments on a post to my local Nextdoor forum.
(Yes, I’m on Nextdoor, mainly because it’s useful for stuff like “Hey, anybody know what all those sirens were last night” and “Anybody know a good roofer?” But the site is very obnoxious in a lot of other ways, and I’ve imposed a personal rule of never posting at all on it. One good example is the thread from a few weeks ago–and I am not making this up–of a person breathlessly posting about the suspicious-looking ‘colored’ person in the pickup truck who was obviously casing local houses…until someone else on that same street said, “Yeah, that’s Bob. He’s a meter-reader for the power company.” If I had commented on that, I probably would have been banned.)
(UPDATE: Since I wrote this, I closed out my NextDoor account. It just got to be too much idiotic racism.)
A person posted about “Critical Race Theory” being taught! in the local elementary schools!!! Now, this is BS, obviously, and to their credit, a few folks did point out that this is total BS. But equally obviously, “Critical Race Theory” is just a catch-phrase for these people that has come to refer to any mention of race at all, in any context. (Which is what Rufo et al. intended the entire time–again, see Mr. Oliver.) And that framing leads to this specific talking point:
“I do not want my children being taught to feel bad about their country!”
Or:
“I do not want my child being made to feel BAD about their history!”
Or:
“I don’t want my kid being made to feel like they have to answer for things they didn’t do!”
And you know what? Maybe that’s a bit tempting. I never owned any slaves! Why do I have to feel bad about it? Why do I have to atone for that? It was 150 years ago! Leave me alone! Lemme be! Get over it!
When you really start digging into this, you realize quickly that these people don’t want history taught as a factual discipline from which we can learn valuable lessons for the future and in which we come to see the flaws as well as the strengths in the generations that preceded us. No, these people want a feel-good story, a hegemonic tale whose purpose is to shape young minds so they get obediently tearful in the presence of a flag (and, maybe just maybe, the creepy politician literally hugging it). They want the Hero’s Epic version of history, with an honesty-obsessed George Washington admitting chopping down the tree years before he stood proud and tall in that boat as he crossed the Delaware. They want a tale of lantern-jawed heroes, always driven forward by God and goodness, with their women at their backs (always, always that) as they hew their destinies from the land itself.
These people want all the feel-good stuff from history, and that’s it. They want heroic inspiration from the brilliance of Thomas Jefferson’s diplomacy and writings, and none of the frankly horrific caution of Thomas Jefferson’s forced relations with his own slaves. It’s this feel-good cherrypicking approach to history that gives me particular pause, because it’s borne of the same lack of curiosity and honesty that leads these same people to embrace nonsense across the board, including rejecting vaccines in favor of some random medication pushed by some random doctor Joe Rogan had on the podcast this week.
“I don’t want my kid to feel bad about their history!”
Look, here’s the thing, for all those people who complain that they don’t want their children being made to feel bad about their history, or to feel like they are being blamed for awful things their ancestors did:
If you’re not going to let the evils in our past make you feel bad, then you don’t get to turn about and let the triumphs in that same past make you feel good.
If you don’t want to feel bad about slavery, or Jim Crow, or red-lining, or the KKK, or resistance to Civil Rights, then you also don’t get to feel good about defeating fascism in World War II, or triumphing over the East in the Cold War, or landing on the Moon. History is not a buffet where you can choose what things you like and which you don’t.
And this isn’t about “feeling bad” in the proper context to “feel good” about the good stuff, either. History isn’t about feeling bad or feeling good. History is about learning what we’ve done, the good and the bad, so we can make better decisions later.
But we don’t want that…or too few of us want that. We don’t want to talk or even hear about race. If we do, we want to pretend that ending officially-sanctioned slavery and quoting a single sentence from a single speech by Martin Luther King is all the discussion race ever needed. I don’t know how we get White America to even come to the table to have the discussion much less honestly engage it in the first place, but I do know that if something in history makes you feel bad, you shouldn’t avoid that topic but interrogate it even harder, because if something your ancestors did a few dozen or a few hundred years ago makes you feel bad, maybe it’s relevant to something going on now.
Maybe.
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